Helene Love-Allotey
Head of Department
Lot 20*
El Anatsui(Ghanaian, born 1944)Untitled 126.2 x 106 x 4cm (49 11/16 x 41 3/4 x 1 9/16in). (in 9 pieces)
Amended
22 March 2023, 15:00 GMT
London, New Bond StreetSold for £31,800 inc. premium
Looking for a similar item?
Our African Modern & Contemporary Art specialists can help you find a similar item at an auction or via a private sale.
Find your local specialistAsk about this lot
El Anatsui (Ghanaian, born 1944)
Untitled
panels 1, 2, 5, 7 and 8 are inscribed with the following: 1: B4, 2: C18, 5: C6, 7: B18, 8: B22 (verso)
carved, incised, and painted wooden panels
126.2 x 106 x 4cm (49 11/16 x 41 3/4 x 1 9/16in).
(in 9 pieces)
panels 1, 2, 5, 7 and 8 are inscribed with the following: 1: B4, 2: C18, 5: C6, 7: B18, 8: B22 (verso)
carved, incised, and painted wooden panels
126.2 x 106 x 4cm (49 11/16 x 41 3/4 x 1 9/16in).
(in 9 pieces)
Footnotes
Composed of nine wood panels, the present work is quintessential of El Anatsui's notion that an artist's materials should be derived from their immediate environment. In using this material, along with the application of the artist's techniques in marking wood by carving, incising and scorching is reminiscent of the traditional African mark making that El Anatsui grew up surrounded by. Conventionally, the operation of mark making on wood was performed as a means of consolidating the identity of the owner of, for instance, a vessel or staff. Giving a fresh and modern perspective to this traditional exercise, and catalysed by the artist's interest in linguistic graphics, each panel in this work possesses its own individual marking.
"I felt the need to answer to an allegation that Africa does not have a tradition of writing, so by drawing from various cultures that have developed systems of writing I educate those who are ignorant of that fact."
Isolated in their own carvings yet hung coherently in the manner of other wooden wall hangings by the artist, such as 'Mammoth Crowd Series' sold at Bonhams in 2021, the present lot is consistent with the artist's practice, yet stands out in his opus. It is a strong example of how El Anatsui transforms an everyday material into a visually striking and dynamic relief work, recalling African traditions with a look towards a redefined identity. It is this theme of transformation that is consistent throughout the artists oeuvre.
We'd like to thank El Anatsui for kindly confirming the attribution of this work.
Bibliography
Susan Mullin Vogel, El Anatsui, Art and Life (USA: Prestel, 2012)
Chika Okeke, Slashing Wood, Eroding Culture: Conversations with El Anatsui (Nka, no. 1), p. 35.
Saleroom notices
This lot is subject to import low rate at a preferential rate of 5% on hammer price and the prevailing rate on buyer's premium.
